© Henrik Stenberg Bolshoi reviews

Alexei Ratmansky was trained at the Bolshoi Ballet Academy in Moscow and danced successively with the Ukrainian National Opera in Kiev, the Royal Winnipeg Ballet and the Danish Royal Ballet where he became a principal in 2000. He also studied at the Choreography Department of the State Institute of Theatre Arts.

As a choreographer Ratmansky created works for the Kirov-Mariinsky Ballet, the Danish Royal Ballet, the Royal Swedish Ballet, San Francisco Ballet and other companies. His recent staging of “The Limpid Stream” for the Bolshoi was awarded with Golden Mask Prize.

In January 2004 Ratmansky became Artistic Director of the Bolshoi Ballet. This interview (one of three) was conducted at the Palais Garnier in Paris during the Bolshoi's tour in January 2004.

Alexei, congratulations on the success of your ballet with the audience in Paris. Were you happy with the yesterday’s performance?

In my view, it was a very successful performance. Honestly speaking, I even forgot that I am a choreographer and the Ballet Director, it was simply terribly interesting for me to watch.

You are now the Artistic Director of the Bolshoi Ballet. What will be your main objective?

Oh gosh! I can not describe it in brief. The main thing for me is to understand whether the Bolshoi needs me. The Bolshoi is such a large organisation, such a great theatre that it will be necessary for me to forget about myself and to get a good idea of how to develop the Bolshoi’s new repertoire and also how to keep its classical traditions. The Bolshoi is now one of a very few centres of classical dance, and it is important to preserve those excellent old traditions that live there.

You said: to forget about myself. Does it mean that you will not dance on the Bolshoi’s stage?

Most likely I will not. Definitely not.

The Moscow ballet lovers will definitely regret that they will not see you dancing anymore.

Dancing requires very high concentration, just as much as producing and directing. This takes everything from you. And it will be simply impossible for me to divide myself between dancing and leading the company.

It looks that little earlier you anticipated my next question. Modern choreography is strongly forcing traditional classical ballet out in many countries. Do you think that you will be able to preserve our classics, and in what proportion? 50: 50?

Yesterday Irina Shostakovich, the composer’s widow, presented me with a book about Leonid Yakobson and I saw there his statement, which I heard earlier. He said about 30 years ago: “Classical ballet is dead.” I wouldn’t be so categorical, although there is a grain of truth there, since it is not the language of today. However, classical ballet is so beautiful that those who work in this field would be very sad even to allow such a thought that it is dead. Nevertheless, I am afraid that it is impossible to create a completely new ballet by using only classical steps. More probably it will be neoclassics with some additional modern steps. However, classical ballets are not dead, depending on how they are performed. They have to be filled with lively, human contents. Here, I think, lies the primary task when we try to preserve classical traditions.

Alexei Ratmansky
© Henrik Stenberg. Photograph courtesy of the Bolshoi Ballet

Can it happen that while dancing modern choreography dancers will loose the grasp of classical technique and style, that very style which brings millions of people into theaters?

Certainly not. It can be understood only by dancers themselves. Some of the French remarked here that the emotional “Swan Lake” did not touch them. This sounded somehow... And it was despite the highest standard of dancing by soloists and corps des ballet. It confirmed my thoughts that if any most excellent work lacks in something lively and human, it leaves people indifferent.

Do you already know what your first ballet for the Bolshoi will be?

Yes, in the next season I will make “The Bolt” with music by Shostakovich. And a new version of my ballet “Leah” will be renewed here in spring, with new costumes and scenery. “Lea” will be a part of a triple bill. Two other ballets will not be mine. One of them will be by Yuri Posokhov from San Francisco, Bolshoi’s former leading dancer and a remarkable choreographer. The third ballet will be by Radu Poklitaru who recently did “Romeo & Juliet” for us. We all three are of approximately the same age and not much older than our dancers; therefore, our work must be exciting, we will understand each other well.

All these will be modern ballets. Will the classical ballets remain in the repertoire?

There is no question about it. Classical ballet is the face of the Bolshoi Theatre, they made the Bolshoi famous. There are only a handful of classical companies in the world now, which can stage full-length classical productions.

For the last 10 years you worked in the West. The Russian and Western mentality are different. Moreover, the Bolshoi is known for being a difficult place to work in. Does this concern you?

As far as discipline in the company is concerned, this tour has shown that the company is in a complete order. I am ready to face any specific tasks as any company director usually faces.

In July you will bring the Bolshoi to London. Have you been in London before?

Only once as a tourist.

English critics don’t usually miss the opportunity to mention that the Bolshoi has a lot of problems and hold the Mariinsky up as an example of good management. Will it be possible to prove that Bolshoi is not engulfed in problems anymore?

We will be able to do it only by showing the high quality of our productions. We will prepare for our tour with great responsibility. The Bolshoi has such a company now that can confirm its high reputation.

What dream you have as a choreographer?

I always had dreams, since my school years. In fact, I started doing choreography at school. I have a long list with many titles of ballets, which I would like to produce. I dream of producing “Alice in Wonderland” but I haven’t found the music for it yet. And I wouldn’t like to talk at this stage about other ballets. Little later…